Friday, December 28, 2012

Tarantino used white privilege to advance racial progress

Film critic Eric Deggans alluded to White Privilege in his terrific Salon piece on “Django Unchained” earlier this week. Noting that ”studios know white audiences will show up for (Tarantino’s) movies,” he concluded that Tarantino is “a white man who gets to do what black artists should also get to do” — but too often do not get the opportunity to do. Why not? Because of the way films by different directors are inevitably portrayed in the media and interpreted by White America.

The best way to illustrate this form of White Privilege is to imagine ”Django Unchained” being released as a production from an African American writer and director. Under those circumstances, in the media and among white audiences, the film most likely would be perceived not merely as a mass-audience entertainment product with some underlying social commentary by a single director, but as a niche political film allegedly from a whole community with an axe to grind. That is, it would probably be met in the media and among potential viewers not in the way it has been met, but instead as a divisive “black movie” — by, and allegedly only for, black people.

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Film critic Eric Deggans alluded to White Privilege in his terrific Salon piece on “Django Unchained” earlier this week. Noting that ”studios know white audiences will show up for (Tarantino’s) movies,” he concluded that Tarantino is “a white man who gets to do what black artists should also get to do” — but too often do not get the opportunity to do. Why not? Because of the way films by different directors are inevitably portrayed in the media and interpreted by White America.